1843.] 



THE CIVIL ENGINEER AND ARCHITECTS JOURNAL. 



05 



AFTER CHRIST. 



Pliny 

 Plutarch 



Pausanias 



Lucian 



Dionysius 



Dates, 

 Authors, 

 Patrons, 



Events. 



Architectural 

 Writers. 



Medici Alberti 



Cataneo 



Eminent 

 Architects. 



Vitruvius Cerdo 



Seler 



Severus Rabirius 



Baths 



Tomb of Augustus 



Amphitheatre at Rome 



Apollodorus 

 Hadrian 



Forum of Trajan 



Temple of Venus and Rome 



Moles Hadriani 



Temple of the Sun at Palmyra 



Temple at Balbec 



Leo X. 



Julius II. 



Buschetto 

 Mauritius 

 Lanfranc 

 De Carilelpho 

 Losinga 



Duouio of Pisa 



Old St. Paul's 



Choir of Canterbury Cathedral 



Durham Cathedral 



Norwich Cathedral 



Dioti Salvi 

 Roger 

 Normannns 

 W. Senensis 



Baptistery of Pisa 

 York Cathedral 

 Lincoln Cathedral 

 Canterbury Cathedral 



Troteman 



Poore 



Erwin von Steinbach 



Louton 



Arnolfo 



Wells Cathedral 

 Salisbury Cathedral 

 Minster of Strasburg 

 Lichfield Cathedral 

 S. Maria del Fiore 



Agostino da Siena 



Walsingham 



Walter 



William of Wykeham 



Cathedral of Sienna 

 Ely Cathedral 

 St. Stephen's Chapel 

 Windsor 



Brunelleschi 



Cesare Cesariano 

 Reginald Bray 



Cupola of S. Maria 

 St. Francis at Rimini 



Milan Cathedral 

 Henry Vllth's Chapel 



Philibert de Lorme 



Sansovini 



Serlio 



VlGNOLA. 



Palladio 



Bramante Rafaelle St. Peter 

 Peruzzi San Micheli 



San Gallo Michelangiolo Cupola of St. Peter 

 De Lescott Louvre 



Scammozzi 

 Wotton 

 Inigo Jones 

 Perrault 

 Christopher Wren 



Whitehall 



Borromini Facade of the Louvre 



St. Paul's 



Chambers 



Mansart 

 Vanbrugh 

 Hawksmoor 

 Gibbs 

 Perronet 



Soufflot 



Arches of Triumph at Paris 

 Blenheim House 

 Somerset House 



Nole.— The writings of those in capital letters are still extant. 



in Daniel : " the princes, the governors, the cap. 

 tains, the judges, the treasurers, the counsellors, the 

 sheriffs, and the rulers of the provinces." Through 

 these was the approach to the Sekos for the god ; 

 and on the face of each column of the avenue were 

 represented on one side Osiris, on the other the 

 Pharaoh. 



The paving above all this showed a surface pre- 

 pared for other buildings, apparently of timber : 

 holes occur for the reception of the posts, very 

 large ornamental spouts for the discharge of sewage 

 and water, in a country of no rain, and there- 

 fore only wanted for the uses of a great family. 

 The parapet walls forming the external face of the 

 temple palace, surmounted with the usual cornice, 

 defend and partially conceal these buildings ; and 

 at Dendera especially are chapels for the daily ser- 

 vices of the Pharaoh and his family on this higher 

 level, and the staircases by which they arrived at 

 them. These were the " ivory palaces," the habi- 

 tations of cedar, and sandel, and almug woods, al- 

 luded to in the 45th Psalm, and in which each 

 Pharaoh might indulge his taste, and be " glad," 

 and enjoy exemption from the inconveniences of 

 the nether world. 



Some very beautiful drawings, by Mr. Jones, re- 

 presenting the actual remains and restorations of 

 the Pila?, were obligingly exhibited, by permission 

 of that gentleman. An interesting part of the 

 ruins of Karnac was not to be forgotten, namely, a 

 triumphal gate built by Shyshack on his return 

 from Jerusalem, whence he had taken the golden 

 shields put up by Solomon, as described in 1 Kings, 

 xiv. 



The treasuries of Atreus, 48 feet in diameter, 

 and the gates of Mycenre, and the treasury of Or- 

 chomenos, of still larger diameter, are the only 

 monuments of Homeric pretension, unless the Ly- 

 cian remains, discovered by Mr. Fellowes, can be 

 proved to be of that remote period, and that the 

 taste of Sarpedon can be identified by them. 



Amongst the objects of civil architecture, few 

 have had more influence on the art than theatres, 

 both in their external elevation, in the application 

 of the orders in relief on the pier and spandrel of 

 the arch, and in the internal elevation, the scene, 

 which has been the occasion of so much caprice 

 and corruption of taste. The theatre, being con- 

 stantly employed for parliamentary assemblies, re- 

 quired a permanent scene, as well as moveable, and 

 adapted to the performance. It was a subject of 

 vast architectural study and expense. Pliny (lib. 

 xxxvi.) tells us that Caius Antonius silvered the 

 scene ; Pretonius gilt it ; Quintus Catullus clothed 

 it in ivory. Scaurus surpassed them all ; he taised 

 360 columns, in three ranges : the first was of mar- 

 ble 38 feet high, the next was in glass, the third 

 of wood gilt. Three thousand bronze statues orna- 

 mented the intercolumniatious. Curion, unable to 

 surpass Scaurus, built two theatres of wood, which, 

 being back to back, could be turned so as to form 

 an amphitheatre for gladiators, displaying the skill 

 of the Roman carpenters to great advantage. 



Vitruvius (lib. vii. c. 5.) lamenting the deprava- 

 tion of taste, tells us that Apaturius of Alabanda 

 offered a design for a scene of two stories, the 

 upper called Episcenius, filled with every caprice, 

 centaurs did the office of columns, pediments were 

 twisted in a variety of shapes ; all which pleased 

 the people of Tralles, for whom it was designed ; 

 but Licinius a mathematician, exposed its absurdity, 

 and it was accordingly reformed on better princi- 

 ples. 



The scene of Laodicea (amongst many which the 

 Professor exhibited) was the most extensive, being 

 no less than 254 feet in length. The theatre of 

 Orange, lately published by M. Caristie, was a valu- 

 able addition to our information on the Roman 

 scene. 



Palladio's scene of the theatre at Viccnza gUes 

 the best idea of its feature of ancient architectural 

 magnificence. 



Originally of wood, and continuing so for many 



centuries, it was not until the third century before 



our era (232 B.C., the theatre at Epidaurus,) that 



they were built in stone and marble. The Greek 



13 



